1. Composer-performer-listener segregation

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The conventional tri-partied concept of composer-performer-listener segregation has been an influence of European Romanticism since 1800 in which results in the segregation of the creation, performance and appreciation aspects of the musical art. Thus, the traditional musical training mainly equips composer and performer with composition techniques and performance techniques respectively. In other words, composers do not perform while performers do not compose, and the non-musically trained people is regarded as laymen who can only passively appreciate music.​

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2. Lower the barrier of music learning through technology

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Owing to the advances of technology, digital devices like computer, tablets, smartphone have become affordable and widely available. Schools have been increasingly investing on IT hardware and software, and yet it is still under-utilized. The raising awareness of e-Learning is evident in the current Music Curriculum Guide published by Hong Kong Education Bureau which stated that using information technology (IT) in music teaching is one of the four key tasks. Traditionally, music performance and composition is for elite with good command of musical notation, practical and conceptual skills. Students usually spend much time in learning and practicing before enjoying music-making. With the advances of music technology and the increasing attention to digital musicianship, students with diversified musical background can now be involved in the process of music-making immediately by using relevant apps, which provide greater control on music parameters (such as pitch and tone colour) and does not require traditional musical five-line staff notation.

 

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3. Student-centred learning in the Music Curriculum Guide

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Meanwhile, Hong Kong Education Bureau also suggested the shifting of learning and teaching pedagogy from a paradigm of teacher-centred teaching to student-centred learning in the Music Curriculum Guide published. The syllabus stressed on delivering a comprehensive music experiences through participation in integrated activities of creating, performing and listening, so as to have a balanced development in abilities in creating, performing and appraising music.

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4. Lack of teaching resources and pedagogy 

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Many schools have already equipped with iPad for various teaching and learning purposes. However, the application in music is comparatively low due to lack of resources and pedagogy. In view of the great demand in e-Learning, student-centred pedagogy and integrated music teaching and learning with creating, performing and listening, this project promotes learning music through performing maestro’s composition such as Beethoven’s Symphony through e-Orch. Students will be trained with high accuracy in pitch and rhythm, idiomatic musical shaping, and vivid communication of character and style. The second part of the course is more focus on music creation in which students will learn various composition techniques through designed musical games and activities. Students will compose a new work with inspiration from maestros’ work. The creative product can be a variation of a famous melody, an original composition influenced by a great work, etc.

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5. Digital Musicianship

In this digital age, technology is widely used in music making. The definition of musicianship nowadays is not only indicating the virtuosic performance of traditional musical instruments, but it also includes digital music making. Digital musicianship requires good interactivity, listening skills, critical judgement, ensemble abilities and creativity with the usage of technology. Our e-Orch courses engage students to perform and creative music collaboratively in ensemble setting using music app, this enables students to experience all essential elements of digital musicianship in the lessons. We aim to equip students to catch up with the music evolution.

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